iS40 iS50 Interactive Music Workstation User’s Guide AI2 Synthesis System
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Disclaimer The information contained in this manual has been carefully revised and checked through. Due to our constant efforts to improve our products, the specifications might differ to those in the manual. Korg is not responsible for any eventual differences found between the specifications and the contents of the instruction manual - the specifications being subject to change without prior notice Liability KORG products are manufactured under strict specifications and voltages required by each country.
How to... How to... Demo Listening Standard MIDI Files (SMF, Songs) ☞P. 20 Loading Saving Arrangements and automatic accompaniments ☞P. 4, ☞P. 25 Starting & stopping ☞P. 4, ☞P. 23 Fill, intro, ending ☞P. 4, ☞P. 24 Changing the volume ☞P. 5 Loading from disk ☞P. 116 Creating new arrangements ☞P. 54 Listening Erasing from memory ☞P. 21 ☞P. 35, ☞P. 110 ☞P. 7, ☞P. 21 ☞P. 106 Selecting Disk Loading files Saving files Formatting a disk ☞P. 115 ☞P. 119 ☞P.
Contents Contents GETTING STARTED . . . . . . . . . . . . 1 6. Connecting to a computer (iS40) 42 Installing and setting up the “Korg MIDI Driver” software. . . . .44 Reading Standard MIDI Files with Macintosh. . . . . . . . . . . . . .51 Introduction . . . . . . . . . . . . . . . . . . . 2 Before you begin.... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1. Handbook . . . . . . . . . . . . . . . . . . 4 REFERENCE GUIDE . . . . . . . . . . . . .53 7. Arrangement Play mode. . . .
Contents Page 17: Rename Backing Sequence. . . . . . . . . . . . . . . . . . . 90 Page 18: SMF converter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 9. Song Play mode . . . . . . . . . . . . 92 Functions of Song Play mode . . . . . . . . . . . . . . . . . . . . . . . . . 92 Page 1: Performance monitor. . . . . . . . . . . . . . . . . . . . . . . . . 93 Page 2: Channel settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Page 3: Transpose position. . . . . . . . . . . . . . .
Contents iv
GETTING STARTED
Getting Started • Introduction Introduction Thank you for having chosen the Korg iS40/iS50, the interactive music keyboard created for even the most demanding musicians! Given the legendary Korg sound and the more sophisticated automatic accompaniment functions, the iS40/iS50 is the ideal instrument for those who play professionally and those who play just for pleasure.
Getting Started • Introduction Getting ready to play Connecting the power cable ● Plug the power cable into the power socket. Make sure that the voltage is suitable for the instrument (the voltage is indicated next to the AC power inlet). Turning on the power ● Press the POWER switch to turn the instrument on. On turning on, the instrument will be in the Arrangement Play mode. If you are connected to an external amplifying system, turn the diffusers on only after having switched on the iS40/iS50.
Getting Started • 1. Handbook 1. Handbook (Note: The image at the bottom of this page is of the iS40's Control Panel. The iS50 is slightly different.) Basic functions How to change the tempo Move the cursor to the “Tempo” parameter ( =120). When the display shows the TEMPO label, change the tempo with the buttons of the TEMPO/VALUE [5] section. To go faster press UP/+, to slow down DOWN/-. In the iS40, the DIAL has the same function as the TEMPO/VALUE keys.
Getting Started • 1. Handbook How to select a track Use the VOLUME [8] buttons to select the tracks. Each pair of buttons corresponds to the track indicated above them. Briefly press one of the buttons to select the corresponding track. Tracks Upper 2 and Lower can be selected alternatively. It is not possible to activate both Upper2 and Lower at the same time. Tracks Upper 2 and Lower are selected by the same pair of buttons LOW/UPP2.
Getting Started • 1. Handbook Transposition How to transpose the sounds of the keyboard by an octave To transpose the keyboard (track Upper 1, or the selected track) by an octave higher or lower use the buttons in the OCTAVE [12] section. The [+] button transposes an octave higher, while the [-] transposes an octave lower. To cancel the transposition press the two buttons together.
Getting Started • 1. Handbook How to play a right handed ensemble Press ENSEMBLE [14], then play a left handed chord and a right handed melody. To turn off the ensemble, press ENSEMBLE again to switch the led light off. the MODE [15] section. Press START/STOP [3] to begin playback of all the pieces contained in the disk. The pieces are played back in the same order as they appear on the disk. Press START/STOP again to stop playback.
Getting Started • 1. Handbook Disk ible hole. If you can see two holes the disk is protected and you need to remove the plastic flap to open up the closed hole. How to load a file from a disk Do not use the disks that are supplied with the iS40/ iS50, otherwise you will lose the data contained on them! Note: The iS40/iS50 incorporates a new type of disk drive, that you can’t hear “click” when the disk is inserted into place.
Getting Started • 1. Handbook Arabic scale the pedal) or page 9 (for the EC5). With the TEMPO/ VALUE buttons, choose the SCALE CHANGE option. How to program the EC5 or a pedal The iS40/iS50 is normally tuned with equal temperament. You can assign the switching between equal temperament and a programmed sub scale, like the Arabic scale, to a pedal or the EC5 controller. Connect a footswitch to the ASSIGNABLE PED/SW connector, or the KORG EC5 controller to the EC5 connector of the iS40.
Getting Started • 2. Front and Rear Panels 2. Front and Rear Panels Front panel 7 1 2 3 8 7 • 4 1 MASTER VOLUME slider General volume (speakers, headphones and OUTPUT outlets). 2 ACC.VOLUME (Accompaniment Volume) slider Automatic accompaniment volume. In Song Play and Song Edit modes, it controls the volume of all tracks, except the one selected. 3 Display The editing pages, parameters and messages for the user will appear in this display.
Getting Started • 2. Front and Rear Panels Control panel iS40 A B 1 1 2 34 56 F 7 I G J H C 8 K 9 = D M N O P Q R • S T U V E L W iS50 A B 1 1 2 34 56 F G 7 I J H C 8 K 9 = D M N O P Q • 1 MODE section The buttons in this section activate the operating modes of the instrument. • ARR. PLAY (Arrangement Play) button This button accesses the Arrangement Play mode. (The instrument is automatically in this mode when it is turned on).
Getting Started • 2. Front and Rear Panels BER buttons, then press START/STOP. To exit the Demo mode, press EXIT/NO. 2 MEMORY-CHORD/TIE button Arrangement Play and Backing Sequence modes: keeps the chord after having taken your hand off the keyboard. Backing Sequence-Step Recording mode: inserts a tie (ties the last note played to the next note that is going to be played).
Getting Started • 2. Front and Rear Panels The second function (NO) is to be used to give a negative reply to questions that may appear on the display. 15 ENTER/YES button By pressing this button you can give a positive reply to questions that may appear on the display. Song Play mode: by pressing on the name of a song, the song will be inserted in the Juke Box list and activates the Juke Box mode.
Getting Started • 2. Front and Rear Panels ing Sequence-Step Recording mode: These buttons are used to specify the length of the note being input. keyboard, without having to press START/STOP. SYNCHRO-STOP makes the accompaniment stop when the hand playing the chords is taken off the keyboard. 27 RESET/INS button Backing Sequence, Song Play, Song Edit modes: this button returns the sequencer to the first measure. Arrangement Play and Backing Sequence modes.
Getting Started • 2. Front and Rear Panels 4 Transpose/Octave The two indicators TRANSPOSE and OCTAVE show in alternation. According to which one shows, the transposition is by semitones or octaves. 5 Page Indicator of the current page. If [+] shows, there are pages to follow. If [-] shows there are previous pages. Go through the pages with the PAGE [+] and [-] buttons. 6 Tempo Current tempo. If the TEMPO indicator is showing, you can vary the tempo with the DIAL or with the TEMPO/VALUE buttons.
Getting Started • 2. Front and Rear Panels 3 MIDI connector To connect other MIDI devices (keyboards or computers). For connections you need the special MIDI cables which you can purchase from your Korg dealer. • MIDI IN connector Receives data from other MIDI devices. • MIDI OUT connector Transmits MIDI data to other MIDI devices. • MIDI THRU connector (only the iS40) Re-transmits the MIDI data received through the MIDI IN connector.
Getting Started • 3. Operative modes 3. Operative modes The instrument can function in different “modes”, each of which groups together functions that are for its own particular use. In order to choose a mode you need to press a button in the MODE section. Arrangement Play mode Arrangement Play is the main operative mode. When the instrument is turned on it is always in this mode, where you can select the arrangements you wish to use.
Getting Started • 3. Operative modes Song Play mode The Song Play mode allows you to play songs in Standard MIDI File format, without loading them from disk. The song of the Song Play mode is made up of 16 MIDI channels. You can change the program of the MIDI channel, and adjust the volume, pan, effects, effect send, tempo and transpose settings. However, the changes are not saved in memory, or on disk.
Getting Started • 3. Operative modes Display pages The parameters and functions of the various operative modes are grouped into several pages, which appear on the display. The page number is always indicated on the right-hand side of the display. To move through the display pages, use the PAGE [+] and [–] buttons.
Getting Started • 4. Tutorial 4. Tutorial This chapter is a practical guide to the use of the instrument. It is particularly aimed at those who have never in their lives before, seen a keyboard with accompaniments. Follow the instructions on the instrument – it will only take you a few hours. Afterwards you will be able to call yourselves real electronic keyboard experts.
Getting Started • 4. Tutorial The Backing Sequence data contained in the disk The Accessory Disk supplied with the instrument contains the demonstration backing sequence data. Reading them on disk will help us understand both the backing sequence data and the disk reading. 1 Insert the Accessory Disk into the disk drive. Listening to the Songs The songs are musical pieces available in the form of Standard MIDI Files (SMF).
Getting Started • 4. Tutorial 4 Press START/STOP. Position on the list The SMF format 0 are played back at once. The SMF format 1 must be loaded in memory first, then after a few seconds wait they are played back. If there are any backing sequences or songs already loaded in the Song Edit mode, a message will appear asking you if it is OK to erase this data. If you don’t mind losing the data in memory, press ENTER/YES to start playback. 5 Press START/STOP to stop the playback.
Getting Started • 4. Tutorial The arrangements Playing with the arrangements Detected chord The most enjoyable thing about the iS40/iS50 is that you can play on the keyboard accompanied by arrangements, just as if you had a real band backing you. Each arrangement contains a style, that is to say a series of accompaniment patterns in a particular musical style. Here are some ideas on how you can use the arrangements. 1 Press ARR. PLAY to enter the Arrangement Play mode. The ARR.
Getting Started • 4. Tutorial 5 iS40: Play a chord again, in the chord scanning area, to restart the accompaniment. 6 iS40: Press SYNCHRO-STOP again to switch off its led. 7 Continue playing, then press START/STOP to stop the accompaniment. Fill Enough of the usual rhythm. Let's insert a “fill-in” (that is an interlude) in the automatic accompaniment. 1 Start the automatic accompaniment. 2 Whilst playing press one of the FILL [1] or [2] keys. A fill-in will be played.
Getting Started • 4. Tutorial Fade in/out 1 With the accompaniment stopped, play a chord Selecting a different arrangement in the chord scanning area, then press FADE IN/OUT to start the accompaniment. 1 Press one of the ARRANGEMENT BANK [A], [B] The accompaniment will start. The accompaniment track volume and the keyboard volume will be set at zero, and will gradually increase to full.
Getting Started • 4. Tutorial The keyboard Blocking the sounds of the keyboard When you change an arrangement, you usually change the keyboard programs, too. If you wish to change the accompaniment but don't wish to change the keyboard sound, press SINGLE TOUCH to turn off its led. With the SINGLE TOUCH led lit up, the arrangement will change the programs and the volume of the keyboard tracks, too.
Getting Started • 4. Tutorial J Select the Upper 1 track again (press one of the UPP1 buttons in the VOLUME section). The abbreviation “UP1” will appear on the display. Transposition If the pitch of the keyboard sounds is too high for the singer you are accompanying, don't worry: you can transpose the sound and save the singer's vocal chords! 4 If the UPPER2 led in the KEYBOARD ASSIGN section is lit up, press the button to turn it off.
Getting Started • 4. Tutorial Recording a Keyboard Set 2 Press a few times the BANK button in the KEY- It is possible to record the keyboard and the control panel settings in a Keyboard Set. Let’s try to record the current settings in Keyboard Set 5 of B bank. 3 Press button 5 in the KEYBOARD SET section. 1 Keep REC/WRITE pressed, and press one of the buttons in the KEYBOARD SET section. The Write Keyboard Set page appears. BOARD SET section, to light up the B bank led.
Getting Started • 4. Tutorial After a two-measure pre-count, recording will begin and the accompaniment will start playing. 7 You can now play freely. If you wish, you can use the FILL buttons. 8 Press START/STOP (or one of the INTRO/ENDING buttons + the START/STOP button) to stop the accompaniment and the recording. The recording will stop and the REC/WRITE led will go off. The sequencer will go back to measure 001. 9 Press START/STOP to listen to the song that you have just recorded.
Getting Started • 4. Tutorial (deactivated track) using the TEMPO/VALUE buttons (or the DIAL). 2 Move the cursor to the chord track, and change 2 Move the cursor to the control track, and 3 Move the cursor to the control track, and the status to CHRD (recorded track). change the status to “----” (deactivated track). change the status to REC (track in record). Now, the only track in record (REC status) will be the chord track.
Getting Started • 4. Tutorial Selected track(s) Keyboard track Tempo mode 1 Press the PAGE [+] button repeatedly to get to Control track Chord track Quantize value the Extra Track page. Metronome 2 Move the cursor to the control track, and change the status to CTRL (already recorded). 3 Move the cursor to the keyboard track, and change the status to REC (in record).
Getting Started • 4. Tutorial 9 Play freely. I When finished, press START/STOP to stop recording. Recording will stop and the REC/WRITE led will go off. The sequencer will go back to measure number 001. J Press START/STOP again to playback the song you have just recorded. The song will be played from beginning to end. When it reaches the end, the sequencer will go back to measure number 001.
Getting Started • 4. Tutorial Deleting Backing Sequences If the backing sequence isn't that great, you can delete it. The backing sequences use up space in memory, taking it away from other data (e.g. songs in Song Edit, other backing sequences). 1 Press B.SEQ to enter the Backing Sequence mode. 2 Press PAGE [+] repeatedly to get to “Page 3: Erase Backing Sequence” of the Backing Sequence mode. 3 Press ENTER/YES twice to delete the backing sequence from memory.
Getting Started • 4. Tutorial 3 Press REC/WRITE, then START/STOP to access The melody will now be played by an alto sax. Event Edit. Deleting parts of a song In this example we shall delete the marimba accompaniment from the first four measures. 1 Press PAGE [+] repeatedly to get to “Page 7: Edit”. 4 Use the CURSOR buttons to move the cursor to M001#00. M001#00 indicates the measure number and the “step” inside the measure (001 = measure 1, #00 = initial step of the measure).
Getting Started • 4. Tutorial The marimba part will not play at the beginning of the song anymore. Adding parts to a song In this example, we shall add a counterpoint melody to the song, recording it onto track (Tr07). 1 If you are not already at page 2 (Play), press EXIT/NO, or hold down SONG EDIT and press ARRANGEMENT NUMBER [2]. (This is a shortcut to get directly to a page). 2 Press REC/WRITE.
Getting Started • 4. Tutorial The programs Editing a program changes and save the program in the F(USER) bank. In this example, we shall start with a digital piano. iS40/iS50 has a vast selection of Korg sounds, the same sounds that you hear on records and in concerts of many famous artists. However, it is also your creativity that needs suitable sounds, these you can create in Performance Edit by changing the fundamental parameters of the sound.
Getting Started • 4. Tutorial 9 If you wish to save the program you have I Using the TEMPO/VALUE buttons (or the DIAL). edited, press REC/WRITE to go to “Page 22: Write program” (see page 169). select the position in the F(USER) bank, where you wish to save the program. J Press ENTER/YES to save the program. (At this stage you can press EXIT/NO instead, if you wish to cancel the operation).
Getting Started • 5. MIDI 5. MIDI MIDI (Musical Instruments Digital Interface) is a standard interface that allows two or more electronic instruments to communicate with each other. In addi- tion, MIDI also allows you to connect the instrument to a computer that has a MIDI interface. Using the iS40/iS50 with an external sequencer Connecting MIDI Even though the iS40/iS50 has a built-in sequencer, there are computer sequencers that have more powerful editing functions.
Getting Started • 5. MIDI MIDI Interface MIDI OUT expander MIDI IN MIDI IN MIDI THRU MIDI IN ARRANGEMENT BANK A 11 - 18 8 BEAT 21 - 28 16 BEAT 31 - 38 LATIN 1 41 - 48 LATIN 2 MASTER VOLUME ARRANGEMENT BANK B 11 - 18 LATIN 3 21 - 28 LATIN 4 31 - 38 WALTZ 41 - 48 TRADITIONAL 51 - 58 POP 61 - 68 JAZZ 1 71 - 78 JAZZ 2 81 - 88 ROCK 1 MIDI OUT PROGRAM BANK A (GENERAL MIDI) 51 - 58 BASS 11 - 18 PIANO 21 - 28 CHROMATIC PERC.
Getting Started • 5. MIDI The programs And now for a few technical terms. The song that is played back by the external sequencer, can select the iS40/iS50’s programs, through the two MIDI messages Bank Select and Program Change. The first column in the chart, indicates the Bank Select number, the second column indicates the Program Change number, the third column the iS40/iS50 selected program number. Bank Select No. Program Change No.
Getting Started • 5. MIDI Using the iS40/iS50 as a master keyboard the iS40/iS50’s A and B banks, the sounds selected in the iS40/iS50 and the other instrument will perfectly coincide. In order to use the iS40/iS50 as a master keyboard, switch the Local Control setting to “Off”, as explained earlier in the “Sending data to the computer” (Local Control Off) section. Using the iS40/iS50 as an arranger You can change the sounds of the instrument controlled by the iS40/iS50’s control panel.
Getting Started • 6. Connecting directly to a computer (iS40) 6. Connecting directly to a computer (iS40) Thanks to the PC TO HOST outlet, it is possible to connect the iS40 to a computer with just one serial cable, with no need of a MIDI interface. In order to connect, you will need a special connecting kit (optional), which you can purchase from any Authorized Korg Dealer: Note: Some software might not permit direct connection via a serial cable.
Getting Started • 6. Connecting directly to a computer (iS40) allows you to adjust the speed of the PC TO HOST port to that of the computer. 1 Press DISK/GLOBAL to access the Disk/Global mode. 3 Use the CURSOR buttons to select “Host BR”. 4 Use the TEMPO/VALUE buttons (or the DIAL) to select 31.25 k (Mac) o 38.4 k (IBM PC compatible). 2 Use the PAGE buttons to get to “Page 3: Global MIDI parameters”.
Getting Started • 6. Connecting directly to a computer (iS40) Installing and setting up the “Korg MIDI Driver” software The “Korg MIDI Driver” software, included in the AG001 and AG-002 connection kits, enables the computer software to read and totally manage the iS40. With IBM PC computers (or compatibles), the Korg MIDI Driver works with Windows compatible sequencers. With Apple Macintosh, the Korg MIDI Driver works with Apple MIDI Manager compatible sequencers.
Getting Started • 6. Connecting directly to a computer (iS40) 5 Select Korg PC I/F Driver, and click on [OK]. The setup window will appear. Follow the instructions of “Setting up the Korg MIDI Driver (Windows)”, in the next section, to perform setup. 6 After setup is complete, remove the floppy disk and select [Restart now] to make the driver operational.
Getting Started • 6. Connecting directly to a computer (iS40) Installing the Korg MIDI Driver into Windows 95 Note: Data from MIDI IN may not be received correctly if your computer is too slow. 1 In the task bar, click on [Start]. In [Settings], click on [Control Panel]. 2 In the Control Panel, double click on the [New Hardware] icon to start up the guided installation of your hardware. Click on [Next >]. 3 You should answer [No] to the question “Search for new hardware?”, then click on [Next >].
Getting Started • 6. Connecting directly to a computer (iS40) 7 Click on [OK], then click on [End]. 8 Perform the driver setup by following the procedure described on page 45 in the “Setting up the Korg MIDI Driver (Windows)” section, then click on [OK]. 9 Restart your computer to make the driver operational.
Getting Started • 6. Connecting directly to a computer (iS40) Setting up the Korg MIDI Driver for Windows 95 1 In the Control Panel, double click on the [Multimedia] icon, so that the Multimedia Properties dialog window will appear. 2 Click on the [Advanced] tab located to the upper right. 3 Click on the [+] next to [MIDI Devices and Instruments] (the symbol will change to [–]), then click on [Korg PC I/F MIDI Port]. 4 Click on [Properties]. The “Korg PC I/F MIDI Port” properties will be displayed.
Getting Started • 6. Connecting directly to a computer (iS40) Installing the Korg MIDI Driver into a Macintosh Note: In order to install the Korg MIDI Driver, the Apple MIDI manager and PatchBay must already be installed (they are not supplied with the A-002 kit). Use the Apple MIDI Manager and PatchBay supplied with the software that you wish to control the iS40 with.
Getting Started • 6. Connecting directly to a computer (iS40) 4 Click on the [Out Port Setting: MIDI Out] button. The dialog window shown alongside will appear. In this dialog window you can select the MIDI channels and messages you wish to output from each port. Once you have programmed this, click on [OK]. 5 Start up your MIDI application (sequencer); whose icon will appear in the PatchBay window. Drag the mouse from the Out Port symbol of the MIDI application, to the MIDI IN symbol of the MIDI Driver.
Getting Started • 6. Connecting directly to a computer (iS40) Reading Standard MIDI Files with Macintosh As SMF are usually supplied in MS-DOS formatted disks, a Macintosh must be equipped with software that enables it to read MS-DOS disks, e.g. PCExchange (standard in the more recent Mac range), DOS Mounter or AccessPC.
Getting Started • 6.
REFERENCE GUIDE
Reference • 7. Arrangement Play mode 7. Arrangement Play mode Functions of Arrangement Play mode The following table lists the Arrangement Play mode pages, and the main functions contained in each page. Display page 54 Function Manual page 1. Performance monitor Select arrangement and programs ☞P. 56 2. Style select Select a style ☞P. 57 3. Track setting (1) Select a program, set pan and effect send level ☞P. 58 4.
Reference • 7. Arrangement Play mode Tempo and chord scanning The tempo and chords are always shown at the top of the page. Tempo Chord name = (Tempo) [40…240] Adjust the tempo using the TEMPO/VALUE buttons or the DIAL. In iS40, you can define the tempo by tapping it on TAP TEMPO/DEL. Values: = 40 – 240. AUTO Normal metronome functioning. EXT External Synchronism. Automatically selected if the Clock Source parameter in the Disk/Global mode is on MIDI or HOST.
Reference • 7. Arrangement Play mode Page 1: Performance monitor Press the ARR.PLAY button to enter the Arrangement Play mode. In this page you can select the arrangement and assign programs to the tracks. Arrangement Track ARR (Arrangement) Program [A11…A88, B11…B88, U11…U88] Use the buttons in the ARRANGEMENT section to choose an arrangement. The display will show the selected bank, number and arrangement name.
Reference • 7. Arrangement Play mode Page 2: Style select In this page you can select the style played by the arrangement. Arrangement Style ARR (Arrangement) [A11…A88, B11…B88, U11…U88] For more information about selecting arrangements, see “Page 1: Performance monitor”. STY (Style) [A11…A88, B11…B58, U11…U28] The style is a set of patterns played by an arrangement. Select the style using the buttons in the ARRANGEMENT section.
Reference • 7. Arrangement Play mode Page 3: Track settings (1) In this page you can choose the program (sound), pan (stereo position), and effect send (send levels) for each of the eight tracks in the arrangement. Program Track Pan Track Effect sends [DRUM, PERC, BASS, ACC1…ACC3, UP1, LOW/UP2] For more information about selecting tracks, see “Page 1: Performance monitor”. Program [A11…U88, Dr11…Dr44] For more information about selecting programs, see “Page 1: Performance monitor”.
Reference • 7. Arrangement Play mode Page 4: Track settings (2) For each track in the arrangement, you can set the damper pedal and the parameters related to keyboard range (octave, wrap around) for each arrangement track. Track Program Damper Track Track status Track Program Wrap-around [DRUM, PERC, BASS, ACC1…ACC3, UP1, LOW/UP2] For more information about selecting tracks, see “Page 1: Performance monitor”.
Reference • 7. Arrangement Play mode point, it will automatically be transposed an octave lower. This parameter will only appear when you select the BASS or ACC1–3 tracks. The wrap-around point can be set for each track in semitone steps up to a maximum of 12 semitones, relative to the chord keynote. This value will be the interval between the key specified by the Chord Variation and the wrap-around point.
Reference • 7. Arrangement Play mode has been set on “→2”, after Fill 1, variation 2 will be selected. Values 1&2–3&4 Each time a fill-in ends, one of the two indicated variations will be selected. For example, if the Fill 1 parameter is set on “2&3”, after the first Fill 1 playback, variation 2 will be selected, after the second fill-in playback, variation 3 will be selected 3. UP and DOWN These settings increase or decrease the variation respectively.
Reference • 7. Arrangement Play mode Key (Tonic) [C…B] This parameter selects the key for the scales where it is necessary to indicate the key as well. Page 7: Effect select The instrument has two incorporated digital effect processors. In this page, you can choose which effects you wish to assign to an arrangement and turn them on or off. For more details, see “Effects” chapter.
Reference • 7. Arrangement Play mode Page 12: Rename Arrangement The “Rename Arrangement” page allows you to modify the arrangement name. The name can be made up of a maximum of 10 characters. Selected arrangement The following characters can be used. ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!.,:;'`"+-=#&@$ ¥%(){}[]<>*/_|^˘¯ Use the CURSOR buttons to move the cursor to the character you wish to change and the TEMPO/VALUE buttons (or the DIAL) to choose a character.
Reference • 7. Arrangement Play mode Page 13: Write Arrangement The “Write Arrangement” page allows you to save the arrangement in a location of the USER bank. Press REC/WRITE to directly enter this page while you are in Arrangement Play mode. Along with the arrangement, the status of the Chord Scanning and Keyboard Assign settings will be saved. 1 Select the location where the arrangement will be saved using the TEMPO/VALUE buttons (or the DIAL).
Reference • 8. Backing Sequence mode 8. Backing Sequence mode Functions in Backing Sequence mode The following table lists the Backing Sequence mode, and the main functions contained in each page. Display page Function 1. Playback Select a backing sequence, volume/mute 1. Recording Initial settings Track, track status, quantize, metronome, recording mode for Extra Tracks, start/end measure Recording track selection ☞P. 66 ☞P. 67 ☞P. 70 2. Step recording Recording Manual page Input of notes 3.
Reference • 8. Backing Sequence mode Page 1: Playback Press B.SEQ to enter this page. Press START/STOP to start or stop the playback. Press RESET to go back to measure 001. Backing Sequence Measure number Arrangement BSQ (Backing sequence) [0…9] Backing sequence selected. In theory, the memory could contain up to a maximum of 10 backing sequences; in practice, The number of backing sequences you can fit into memory depends on their size and complexity.
Reference • 8. Backing Sequence mode Page 1: Recording While you are at Page 1 of the Backing Sequence mode, press REC/WRITE to enter the recording mode. In order to go back to the playback mode, press REC/WRITE or EXIT/NO. Tempo Chord name Tempo mode Tempo This indicates the tempo of the current backing sequence. Tempo mode [TEMPO-REC, AUT, 40…240] This indicates the backing sequence tempo mode.
Reference • 8. Backing Sequence mode The number of notes you have to play, in order for the chord to be detected, will depend on the Chord Recognition parameter, contained in “Page 11: Chord recognition mode” of the Disk/Global mode. The “One Finger” mode detects single notes as major chords; the Chord Recognition modes need more than one note to detect the chord. Realtime recording Pressing REC/WRITE, while you are at Page 1 of the Backing Sequence mode, will take you to the recording page.
Reference • 8. Backing Sequence mode How to carry out Manual Punch. Playback the song. Press REC/WRITE when you get to the beginning of the area where you wish to record. Press REC/WRITE again when you get to the area you wanted to record. Instead of pressing the REC/WRITE button, you can use a pedal which has been especially set for the PUNCH IN/OUT function. See “Page 8: Assignable pedal/switch” or “Page 9: EC5 external controller (only the iS40)” in the Disk/Global mode.
Reference • 8. Backing Sequence mode Page 2: Step recording Step recording (recording step by step) allows you to insert an event at a time. It can be used for all the tracks (keyboards, chords, controls, extra tracks). Step recording erases the data of the measures you are recording on. In order to leave the Step recording mode, press START/STOP. Track in record Measure number When in this page, first select the track to be recorded, then press REC/WRITE and START/STOP.
Reference • 8. Backing Sequence mode 3. When finished, press START/STOP to go back to Page 2 of the Backing Sequence mode. To playback the new backing sequence, go back to Page 1 and press START/STOP. Note This indicates the name of the most-recently entered note. This will appear if you have selected track KBTr or ETr1–8. M (Measure number) Current measure. Location This indicates the location where the next event will be entered.
Reference • 8. Backing Sequence mode Step recording on the control track In order to step record on the control track go to page 2 of the Backing Sequence mode, select the CTRL track, press REC/WRITE, and then START/STOP. The following page will appear. Measure Location Value Type of event 1. Select the type of event and the value using the CURSOR and TEMPO/VALUE buttons. 2. Press ENTER/YES to enter an event. The events will be input at eighth-note steps ( = 48 tics).
Reference • 8. Backing Sequence mode Type of event Value DRUM MUTE PERC MUTE BASS MUTE PLAY, MUTE ACC1 MUTE ACC2 MUTE ACC3 MUTE UP1 PROG (Upper 1 program) * A11–A88, B11–B88, C11–C88, D11–D88, E11–E88, Dr11–Dr28, F11–F88 UP2 PROG (Upper 2 program) * LOW PROG (Lower program) * UP1 OCT. (Upper 1 octave) UP2 OCT. (Upper 2 octave) –2, –1, 0, +1, +2 LOW OCT. (Lower octave) * These events can also be input using the ARRANGEMENT or PROGRAM buttons.
Reference • 8. Backing Sequence mode 4. When finished, press START/STOP to go back to Page 2 of the Backing Sequence mode. To listen to the new backing sequence, go back to Page 1 and press START/STOP. M (Measure number) Current measure. Location This indicates the location where the next note will be entered. The number to the left of the colon (:) indicates the beat within the measure. The number to the right of the colon (:) indicates the position within the beat, in 1/96th quarter note units.
Reference • 8. Backing Sequence mode Page 3: Erase Backing Sequence This function erases all the data from the selected backing sequence. Backing Sequence to be erased Select the backing sequence you wish to erase using the TEMPO/VALUE buttons (or the DIAL). Press ENTER/YES to erase it. Page 4: Copy Backing Sequence This function copies the entire contents of the selected backing sequence to another backing sequence.
Reference • 8. Backing Sequence mode Page 5: Edit 1 In this page you can select one of the following three options: delete measure (DELETE), insert measure (INSERT), erase data from measure (ERASE). Move the cursor to the desired operation using the CURSOR buttons, then press ENTER/YES to enter the subpage. DELETE INSERT ERASE 5-1. Delete measures This operation deletes measures from the selected track.
Reference • 8. Backing Sequence mode 1. Move the cursor to the “Track” parameter using the CURSOR buttons, and choose the track with the TEMPO/VALUE buttons (or the DIAL). The ALL value, inserts measures from all the tracks (chord track, control track, tempo track, keyboard track, etc. 2. Move the cursor to the “First measure” parameter (the measure where you would like to insert the new measures) and choose a measure.
Reference • 8. Backing Sequence mode 5-3. Erase measures This operation erases all or part of the data contained in the specified measure(s). The measures themselves will remain. Track First measure Last measure Type of data 1. Move the cursor to the “Track” parameter, using the CURSOR buttons and choose the track with the TEMPO/VALUE buttons (or the DIAL). The ALL value, erases measures from all the tracks (chord track, control track, tempo track, keyboard track, etc. 2.
Reference • 8. Backing Sequence mode Page 6: Edit 2 In this page you can select one of the following three operations: copy measures (COPY), combine tracks (BOUNCE), adjust timing errors (QUANTIZE). Move the cursor to the operation you wish to carry out using the CURSOR buttons, then press ENTER/YES to access the subpage. COPY BOUNCE QUANTIZE 6-1. Copy measures This operation copies measures within a track or from one track to another.
Reference • 8. Backing Sequence mode 6-2. Bounce tracks This operation combines two tracks (keyboard tracks or extra tracks) into one track. The resulting track will use the program, the MIDI channel and all the settings of the Bounce destination track. The data on the source Bounce track will be erased. The combination of two tracks containing continuous controls or change control data (e.g. pitch bend, damper, etc.
Reference • 8. Backing Sequence mode Type of data Data to be quantized CTRL All control change messages AFTT All channel/polyphonic messages BEND All pitch bend messages PROG All program change messages 4. Move the cursor to the “Quantize value” parameter and choose a musical symbol: HI, , , , , , , . The HI value does not modify data. With other values, the data will be adjusted to ideal intervals, whose spacing is determined by the musical symbol you have selected. 3.
Reference • 8. Backing Sequence mode Page 8: Event edit This operation allows you to edit single events, such as notes and control change messages. Track 1. Move the cursor to the “Track” parameter using the CURSOR buttons and choose the track with the TEMPO/ VALUE buttons (or the DIAL). 2. Press REC/WRITE and then START/STOP. 3. Move the cursor to the event and edit it with the TEMPO VALUE buttons (or the DIAL). The parameters will differ according to the type of event and the track you have selected.
Reference • 8. Backing Sequence mode • Event Measure number / Index number Location Type of event Location [1:00…8:95] This indicates the location of the event within the measure. The value is displayed in the form of “quarter:tic” (1 tic = 1/96th of a quarter note). If the abbreviation TIE appears, The note has been tied to the last note in the previous measure. Event type The following table shows the event type and possible values.
Reference • 8.
Reference • 8. Backing Sequence mode Option SP-LOW Keyboard Assign Keyboard Mode LOWER SPLIT Option Keyboard Assign Keyboard Mode Event editing of the CHRD track (chords) Measure number / Index number Chord Tension Location Bass note Chord This indicates the chord that will be input. Tension Tension adds notes that have actually been played to the accompaniment, even if they haven't been written in the style pattern. Bass note You can indicate a bass note that is different to the chord root.
Reference • 8. Backing Sequence mode Page 9: Extra Track settings (1) In this page you can set the initial parameters of the eight extra tracks ETr1-ETr8. In the same way as the keyboard track, you can individually adjust the transpose and detune settings. You can also specify the MIDI channel of every extra track. Extra Track Program MIDI channel Transposition Extra Track Detune [ETr1…ETr8] Select the extra track using the buttons in the VOLUME section.
Reference • 8. Backing Sequence mode Page 10: Extra Track settings (2) In this page you can choose the program (sound), pan (stereo location) and the effect level sent to the two built-in effect systems, for each of the 8 extra tracks. Extra Track Pan Program Effect sends Extra Track [ETr1…ETr8] Select the track using the buttons in the VOLUME section. Program [A11…U88, Dr11…Dr44] Select the program using the buttons in the PROGRAM section.
Reference • 8. Backing Sequence mode Page 11: Effect select The instrument has two incorporated digital effect processors. In this page, you can choose which effects you wish to assign to the backing sequence and turn them on or off. For more details, see “Effects” chapter. Page 12: Effect modulation In this page you can connect the effects to controls, which allow you to dynamically modulate their intensity. For more details, see “Effects” chapter.
Reference • 8. Backing Sequence mode Page 16: Next Backing Sequence The “Next Backing Sequence” page allows you to choose a backing sequence which will be automatically selected when the current backing sequence ends. Next backing sequence Play/Stop Next backing sequence [OFF, BSEQ0…BSEQ9] This indicates the backing sequence that will be selected when the current backing sequence ends. If it is OFF, at the end the current backing sequence will carry on playing.
Reference • 8. Backing Sequence mode Page 17: Rename Backing Sequence The “Rename Backing Sequence” page allows you to change the name of the backing sequence. The name can be made up of a maximum of 10 characters. Selected backing sequence The following characters can be used. ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!.
Reference • 8. Backing Sequence mode Page 18: SMF converter This function converts a selected backing sequence into a Standard MIDI File format 0 (SMF0). The SMF can be read and played back by any other sequencer or instrument. filename suffix program bank Insert a disk into the disk drive and press ENTER/YES. A confirmation message will appear; press ENTER/ YES again to confirm and the backing sequence will be converted into a SMF.
Reference • 9. Song Play mode 9. Song Play mode Functions of Song Play mode The following table lists the pages of Song Play mode, and the main functions contained in each page. Display page Function Manual page 1. Performance monitor Select song, tempo, initial measure ☞P. 93 2. Channel settings Pan, effect send ☞P. 95 3. Transpose position Position at which transpose will take place in the MIDI data, transpose effect ☞P. 96 4. Effect select Effect type, on/off ☞P. 97 5.
Reference • 9. Song Play mode Page 1: Performance monitor The iS40/iS50 can read Standard MIDI files (SMF) in format 0 and 1. Format 0 SMF will be played back immediately, without having to load them onto disk, whereas format 1 SMF will be loaded first, then played back a few seconds later. While loading the START/STOP led will flash, and the message “Please wait a moment” will appear on the screen. It is also possible to read files in format Yamaha “.DOC”, although there are some limitations.
Reference • 9. Song Play mode < There are already backing sequences and songs in memory > If there is already a backing sequence or a song playing back in the Song Edit mode, before loading a SMF in format 1, a message will appear asking you if you want to erase the backing sequence or song in memory: “Or to erase B.Seq & Song Edit”. Press ENTER/YES, to erase the data in memory and playback the new song. If you do not wish to lose the contents on memory, press EXIT/NO.
Reference • 9. Song Play mode Page 2: Channel settings When a Standard MIDI File (SMF) is played back, the channels are momentarily reprogrammed according to the settings of the SMF. When playback finishes they will be reset as in this page. Channel Pan Program Send levels Ch (Channel) [01…16] Select the channel you wish to edit using the buttons in the VOLUME section. The corresponding channel will be indicated in the display, above the volume indicator.
Reference • 9. Song Play mode Page 3: Transpose position Transpose position [KBD/MIDI, ALL/MIDI, ALL/INT] This parameter determines whether the TRANSPOSE buttons must apply to the sounds played from the keyboard, the sounds played back from the song and the messages sent to MIDI OUT. These settings only regard the Song Play mode, the same settings of “Page 2: Master tuning/Transpose position” of the Disk/Global mode, will be ignored.
Reference • 9. Song Play mode Page 4: Effect select The instrument has two built-in digital effect processors. In this page, you can choose the effects assigned to the arrangement and switch them on/off. For more information, see the “Effects” Page 5: Effect modulation In this page, you can connect the effects to one or two controls, which allow you to dynamically “modulate” their intensity. For more information, see the effects chapter.
Reference • 10. Song Edit mode 10. Song Edit mode Functions of Song Edit mode The following table lists the pages of Song Edit mode, and the main functions contained in each page. Display page Functions Manual page 1. Load Load a Standard MIDI File ☞P. 99 2. Playback & recording Playback and recording ☞P. 99 3. Track parameters Parameter settings of the tracks ☞P. 101 4. Event edit Modify single events of the tracks ☞P. 102 5. Shift note Transposition ☞P. 105 6.
Reference • 10. Song Edit mode Page 1: Load Load a Standard MIDI File (SMF). Insert the disk containing the SMF you wish to load. The disk must be MS-DOS, 3.5” format, 720K capacity (DS-DD) or 1.44MB (HD).The SMF must have the filename extension “.MID”. It is also possible to read files in Yamaha “.DOC” format, with however some limitations. The sounds are converted, where possible, into GM sounds.
Reference • 10. Song Edit mode REC/WRITE and then START/STOP to start recording. At this point, you can carry out tempo changes, which will be recorded on the tempo track of the song. M (measure number) [001…999] Current measure. You can choose a different measure both when the sequencer is in playback or when it has stopped.
Reference • 10. Song Edit mode measure and an end measure before beginning, so that only the specified area will be recorded onto and other recording parts will not be “spoilt”. MANP (Manual punch): you can define the recording area manually. Follow this procedure: 1. Select the track you wish to record. 2. Press START/STOP to start playback. 3. Press REC/WRITE at the beginning of the area you wish to record. Recording will begin. 4. Press REC/WRITE again at the end of the area you have recorded.
Reference • 10. Song Edit mode Program [A11…U88, Dr11…Dr44] Program that is assigned to the selected track. Select the program using the buttons in the PROGRAM section. To select a drum program (Dr11–Dr28), press repeatedly F/USER/DRUM until the abbreviation “Dr” appears in the display, then select a two-digit number with the number buttons. Ch (MIDI channel) [01…16] MIDI channel of the track. If a song is converted into a Standard MIDI File “Page 13.
Reference • 10. Song Edit mode Event filter Press REC/WRITE to access the Event Filter page. Assign “o” to the type of event you wish to view, “x” to the type of event that you do not wish to view. For more information on the various types of event, refer to the paragraph about this further on. “Note” events “Control change” events “Pitch bend” events “Program change” events “Mono Aftertouch” events “Poly Aftertouch“ events Press START/STOP to get back to the Event Edit page.
Reference • 10. Song Edit mode • Event Location Event type Location [1:00…8:95] This indicates the position within the measure. The value is displayed in the form of “quarter steps” (1/96th of a quarter note steps). If the abbreviation TIE appears as well, the note has been tied to the last note in the previous measure.
Reference • 10. Song Edit mode Page 5: Shift notes (Transposition) This function shifts (i.e. transposes) the pitch of notes making them more acute (higher) or more grave (lower), in semitone steps. You can shift all the notes or choose certain measures. Track First measure Last measure Shift value 1. Move the cursor to the “Track” space using the CURSOR buttons and choose the track with the TEMPO/ VALUE buttons (or the dial). 2.
Reference • 10. Song Edit mode Page 6: Erase song When a song has been loaded in memory, the remaining memory available for the backing sequences will decrease, and it may no longer be possible to load a new backing sequence. By erasing the song you can free some of the memory. Go to this page and press ENTER/YES twice. If you do not want to lose the data, save it on disk before erasing it from memory. Use the Save function on “Page 13. Save ”.
Reference • 10. Song Edit mode 2. Move the cursor to the “First measure” field, and choose the first of the measures you wish to delete. Move the cursor to the “Last measure”, and choose the last of the measures you wish to delete If you only wish to delete one measure, assign the same measure to both the fields. 3. Press ENTER/YES twice to confirm deletion. 7-2. Insert measures This operation inserts measures into the selected track. The following measures will be moved forward.
Reference • 10. Song Edit mode Time signature = **/** Before the Insert Tr01 1 (4/4) 2 (2/4) 3 (2/4) 4 (4/4) 5 (3/4) Tr02 1 (4/4) 2 (2/4) 3 (2/4) 4 (4/4) 5 (3/4) Insert After the Insert Tr02 1 (4/4) 2 (2/4) 3 (2/4) 4 (4/4) 5 (3/4) Tr01 1 (4/4) 2 (2/4) 3 (2/4) 4 (4/4) 5 (3/4) 6 (3/4) 7 (3/4) 7-3. Erase measures This operation erases all or part of the data contained in the specified measure(s). The measures themselves will not be erased.
Reference • 10. Song Edit mode you erase the deactivating message of the damper, the pedal will stay open; if you erase the pitch bend reset message, the track could be out of tune. Manually erase the activating messages or insert new deactivating events with the functions of “Page 4. Event edit”. Page 8: Effect select The instrument has two built-in digital effect processors. In this page you can select the effects you wish to assign to the song and switch them on or off.
Reference • 10. Song Edit mode Page 13: Save In this page you can save the song on disk, in Standard MIDI File (SMF) form. You can change the name of the song before saving it. To save the song, when this page is displayed press ENTER/YES twice. Filename Format Bank Select conversion The filename can be up to 8 characters long. Move the cursor with the CURSOR buttons and modify the selected character with the TEMPO/VALUE buttons (or the trackball).
Reference • 11. Disk/Global mode 11. Disk/Global mode Functions in Disk/Global mode The following table lists the display pages of the Disk/Global mode, showing the main functions contained in each page. Display page 1. DISK functions Functions Manual page 1-1. Load Load data from disk ☞P. 115 1-2. Save Save data on disk ☞P. 119 1-3. Utility Delete data, delete styles, format disks ☞P. 120 ☞P. 121 2. Master tune/Transpose position 3.
Reference • 11. Disk/Global mode • “Parameter modified - Write?” message After having modified some parameters, if you press the button of another operative mode, the question “Parameter modified - Write?” will appear in the display. If you wish to save the changes you have made, press ENTER/YES, otherwise press EXIT/NO. If the changes are not saved, switching the instrument off and then on again will reset any changes.
Reference • 11. Disk/Global mode Write protection You can protect a disk from the accidental overwriting of data, by opening the write protect hole. To protect the disk from the overwriting of data, slide the protection flap so that the hole becomes visible. To write-protect the disk: move the flap and open the hole To write-enable the disk: move the flap and hide the hole Inserting a disk Insert the disk delicately into the disk drive, with the label facing upwards and the metal part to the front.
Reference • 11. Disk/Global mode Cleaning the heads The disk drive read/write heads get dirty with use and become less accurate. You can clean the heads with a special cleaning disk, purchasable from any computer or musical instrument store. Use a 3,5” DS wet type head cleaning disk; and carefully follow the instructions included with the cleaning disk. Precautions • Make a backup copy of the disks, in order not to lose data forever in case of damage.
Reference • 11. Disk/Global mode Page 1: DISK functions In this page you can select one of the three disk functions: LOAD, SAVE, UTIL. Move the cursor to the desired function, then press ENTER/YES to access its subpages. Load from disk Save on disk Utility 1. Load The Load function allows you to load data onto disk. You can load all the data that can fit in memory (Load All), only some data (Load One), only Global data (Load Global), or only iS40 Keyboard set data (Load Kbset).
Reference • 11. Disk/Global mode ALL An ALL file contains all the data that can fit in memory. In reality, it is a file that points to other files, which can even be loaded separately. The ALL files allow you to load all the data you may need for an entire concert, in one operation. This operation loads also the Global data, including the user scales and the two user drum kits. 1. Insert the disco. 2. Choose ALL and press ENTER/YES. The ALL filenames contained on disk will appear in the display.
Reference • 11. Disk/Global mode ARR (ARRANGEMENT) This option allows you to load an arrangement from an arrangement file. Source file Arrangement to be loaded Target location 1. Use the TEMPO/VALUE buttons (or the DIAL) to choose the arrangement file from which you wish to load the arrangement. 2. With the CURSOR buttons, move the cursor to the second field. Use the TEMPO/VALUE buttons (or the DIAL) to choose the arrangement to you wish to load. 3.
Reference • 11. Disk/Global mode BSQ (BACKING SEQUENCE) This option allows you to load a backing sequence from a backing sequence file. Source file BS to be loaded Target location 1. With the TEMPO/VALUE buttons (or the DIAL) choose the backing sequence file from which you wish to load the backing sequence. 2. With the CURSOR buttons, move the cursor to the second field. Use the TEMPO/VALUE buttons (or the DIAL) to choose the backing sequence you wish to load. 3.
Reference • 11. Disk/Global mode 1-4. Load keyboard set (only iS40) The Load All Keyboard Set function allows to load the Keyboard Sets from a file. Any Keyboard Sets already in memory will be deleted. Source file 1. Select the file you wish to load the Keyboard set from, using the TEMPO/VALUE (or the DIAL). 2. Press ENTER/YES to load the file. 2. Save The save function allows you to save data on disk.
Reference • 11. Disk/Global mode KBSET (KEYBOARD SET) (only iS40) The KBSET function allows to save all the Keyboard Sets contained in memory. The filename extension (.KBS) will be automatically added. GLB (GLOBAL) The GLO option saves two files containing the Global data. The filename extension of the two files (.GBL and .ARG) will be automatically added. ARR (ARRANGEMENT) The ARR option saves a file containing 64 arrangements of the USER bank, and a file that contains the USER styles, on disk.
Reference • 11. Disk/Global mode E.STY (Erase style) This function erases a style from memory. Use it when you receive the message “Not enough memory” by loading an arrangement that makes use of USER styles loaded from disk. 1. Select the style you wish to erase using the TEMPO/VALUE buttons (or the DIAL). 2. Press ENTER/YES twice, to erase the style. FORMAT (Format disk) New disks must be formatted before they can be used with the iS40/iS50.
Reference • 11. Disk/Global mode Note: The transpose position for the Song Play mode is set by the parameter in “Page 3: Transpose position” in the Song Play mode (see pagina 96). The POST-KBD option will transpose data immediately after it leaves the keyboard. Both notes sent to the internal tone generator, and notes sent to MIDI OUT will be transposed. Notes that are received by MIDI IN will not be transposed.
Reference • 11. Disk/Global mode data will be sent to MIDI OUT but not to the internal tone generator. The internal tone generator will only respond to messages coming from MIDI IN. In the Arrangement Play mode, chord scanning will not take place. Clock (Clock source) [INT, MIDI, HOST] The status of this parameter determines how the iS40/iS50 will synchronize with other MIDI devices. If the MIDI or HOST options are selected, the abbreviation EXT will appear in the display next to the tempo.
Reference • 11. Disk/Global mode GL (Global) [01…16] Global MIDI channel. This can be assigned to one of the sixteen standard MIDI channels. • System Exclusive messages will be received on the Global channel. • In the Arrangement Play and Backing Sequence modes, the MIDI messages that have been received will simulate entirely the messages received by the local controls of the iS40/iS50 (keyboard, joystick, pedals).
Reference • 11. Disk/Global mode When using a MIDI accordion it would be better to assign it to MIDI channel 3, this being the channel that is usually dedicated to the chords part. If you wish to substitute the local controls (keyboard, joystick, pedals) with an external master keyboard, choose the same channel that is assigned to Global. To switch this parameter off press “--”.
Reference • 11. Disk/Global mode Page 7: MIDI filter This page contains a series of MIDI filters, to be used to restrict transmission and reception of some kinds of MIDI events. For example, events like aftertouch use up a great deal of memory and make the songs too large, therefore you can choose to “filter” them whilst recording.
Reference • 11. Disk/Global mode EX (System Exclusive) [x, o] System Exclusive message filter, used to transfer programming data via MIDI, for example programs, arrangements, styles, and editing commands for the Arrangement Play and Backing Sequence modes. These messages are particularly useful when you are working with a Korg ih Harmony unit, or if you are using a sound editor on computer. o System exclusive messages will be transmitted and received normally.
Reference • 11. Disk/Global mode Option Function Option Function FILL 1 Same as the FILL [1] button FILL 2 Same as the FILL [2] button VARIATION 1 Same as the VARIATION [1] button VARIATION 2 Same as the VARIATION [2] button VARIATION 3 Same as the VARIATION [2] button VARIATION 4 Same as the VARIATION [4] button CHORD HOLD Same as the MEMORY-CHORD button BASS INVERSION Same as the BASS INV.
Reference • 11. Disk/Global mode Setting quarter tones You can program an Arab scale in realtime, by assigning a footswitch or an EC5 pedal the “Quarter tone” function. The selected scale must be the Main Scale (this function has no effect on the Sub Scale). The quarter tones that are set in this page only apply to the Main Scale. When you modify one note it reflects on all the notes with the same name in the other octaves (for example, if C4 is modified, C3, C5, etc. will also be modified).
Reference • 11. Disk/Global mode Page 10: Lower memory/Velocity curve In this page you can program the functioning of the MEMORY-LOWER button and the response to the keyboard dynamics. Lower Memory Velocity curve Lower Memory [ACTUAL, AUTO, BASS] Functioning of the MEMORY-LOWER button. ACTUAL Chords are reproduced exactly as they are played. AUTO This option completes the chords that are played with some missing notes (i.e. without the fifth).
Reference • 11. Disk/Global mode Page 11: Chord recognition mode This is the mode where the chord played in the part enabled by the Chord Scanning function will be recognized. If Chord Scanning is set on LOWER, the chords will be recognized below the split point; if on UPPER the ones above the split point will be recognized; if on FULL they will be recognized along the entire keyboard.
Reference • 11. Disk/Global mode Page 12: Auto chord scanning/Damper polarity In this page, you can program the Automatic-Chord Scanning and the Damper pedal polarity of the iS40. Auto chord scanning Damper polarity Auto chord scanning [ON, OFF] If this parameter is set on ON, the Chord Scanning changes automatically when you select a Keyboard Mode.
Reference • 11. Disk/Global mode Page 13: Main scale Page 14: Sub scale These pages allow you to select a Main Scale (or temperament), or Sub Scale for the instrument. It is possible to switch from the Main Scale to the Sub Scale with a footswitch, the EC5 external controller, or via MIDI. Scale type Scale type Root key [EQUAL TEMP…USER SCALE] The scales that you can select for the Main Scale and the Sub Scale are the same. EQUAL TEMP. Equal temperament.
Reference • 11. Disk/Global mode < Switching from the Main Scale to Sub Scale and vice versa > You can switch between the Main Scale and the Sub Scale with a footswitch or an EC5 external controller. Assign the SCALE CHANGE value to the “Page 8: Assignable pedal/switch” settings (for the footswitch) or “Page 9: EC5 external controller (only the iS40)” (for the EC5). You can select the scale MIDI, through the Control Change 04 message. Values 0–63 select the Main Scale, values 64–127 select the Sub Scale.
Reference • 11. Disk/Global mode Page 16: MIDI data dump The MIDI Data Dump is the sending of internal data of the iS40/iS50 to another MIDI device. In this page, you can transmit and receive System Exclusive data. Data type To transmit System Exclusive data: 1. Select the type of data you wish to send and press ENTER/YES. 2. Write down the MIDI Global channel, which should be the same when you wish to newly receive the data from the external device. (“Page 4: MIDI channel settings (1)”).
Reference • 11. Disk/Global mode Page 17: Joystick settings Setting the joystick for pitch bend control. Lower/Upper 2 Upper 1 UP1 (Upper1 track) [PRG, DIS] PRG The joystick will activate the Upper1 track pitch bend, provided that the program setting does not turn it off. DIS The joystick will be deactivated on Upper1 track. UP2 (Upper2/Lower track) [PRG, DIS] PRG The joystick will activate the Upper2/Lower track pitch bend, provide that the program setting does not turn it off.
Reference • 11. Disk/Global mode To save Global settings: 1. Go to this page. 2. Press ENTER/YES twice to save the Global setting in memory. Otherwise, press EXIT/NO to cancel the operation. Note: The Global setting will also be saved if you respond ENTER/YES to the “Parameter modified - Write?” message, which appears when you exit from the Disk/Global mode after having modified one or more parameters.
Reference • 11. Disk/Global mode If adjustment hasn’t been performed correctly, an “Invalid Data” message will appear instead. Repeat the calibration procedure. 16-2. Joystick calibration (Y) 1. Move the joystick entirely forward, as far as it will go. 2. Move the joystick entirely back towards yourself, as far as it will go. 3. Release the joystick. 4. As soon as the joystick returns to the central position, press ENTER/YES. 5.
Reference • 11. Disk/Global mode 16-4. Assignable pedal/footswitch calibration The depth of an effect, controlled by a pedal or a footswitch will depend on the model of the pedal or footswitch. If you change a pedal, the effect might not be able to reach maximum intensity, or shut off completely. If this is the case you need to calibrate the pedal. 1. Connect the pedal or footswitch to the ASSIGNABLE PEDAL/SW connector. 2.
Reference • 12. Program mode 12. Program mode Functions of Program mode The following table lists the functions of Program mode, showing the title and main contents of each display page, and the manual page for reference. Display page Contents Manual page 1. Program play Select program, transpose, octave, performance edit ☞P. 141 2. Oscillator basic/Oscillator 2 relative Oscillator type setting, oscillator 2 relative ☞P. 143 3. Oscillator tone Oscillator settings, pan, send * ☞P. 144 4.
Reference • 12. Program mode Page 1: Program play In Page 1 of Program mode you can select the Program that will be played from the keyboard of the iS40/ iS50. You can also use the Performance Edit settings that are shown in this page to perform simple editing. Press the PROGRAM button to enter Program mode, and the following display will appear. Program Transposition/Octave Program [A11…E88, F11…F88, Dr11…Dr28] The internal memory of the iS40/iS50 contains seven banks of Programs, as follows.
Reference • 12. Program mode Performance Edit By pressing one of the VOLUME buttons in Page 1, you can perform the Performance Edit operation corresponding to the button that was pressed. You can save the modified program in a F(USER) location, by pressing REC/WRITE to go to “Page 22: Write program”. VOLUME DRUMS PERC BASS ACC1 ACC2 ACC3 LOW/UPP2 UPP1 PROGRAM MUTE Vibrato intensity Makes the sound brighter or mellower VIBRATO INT. VDF CUTOFF VDF EG INT.
Reference • 12. Program mode VDA Level modifies the VDA Level parameter (☞P. 145) of both oscillators, adjusting the overall volume of the entire program. Each step will change the parameter value 5 steps. Velocity Sensitivity modifies the way in which changes in keyboard playing dynamics will affect the sound. The EG Intensity parameter (☞P. 154) for VDF Velocity Sensitivity and the VDA Velocity Sensitivity parameter (☞P. 160) for VDA Velocity Sensitivity will be modified for both oscillators.
Reference • 12. Program mode Hold [HOLD, NORM] This specifies whether or not a note sounded by the program will stop when you release the iS40/iS50’s keyboard or when a Note-off message is received. HOLD causes the sound to continue sounding even after the note is released. This is convenient when playing drum sounds. For other types of program you will usually set this parameter to NORM. Even with a setting of NORM, the sound will continue playing forever if the VDA EG Sustain Level parameter (☞P.
Reference • 12. Program mode OSC1/OSC2 Octave Multisample/Drum Kit Pan Pitch EG Intensity Level Send levels OSC1/OSC2 (Oscillator 1/2) If in “Page 2: Oscillator basic/Oscillator 2 relative” you have set the Oscillator Type to DOUBLE, this setting specifies which of the two oscillators you will be editing. If Oscillator Type has been set to Drum, this will be displayed as D. You can also switch between Oscillators 1 and 2 by pressing the VARIATION buttons [1] or [2].
Reference • 12. Program mode P (Pitch EG intensity) [–99…+99] This specifies the effect that the Pitch EG will have on the pitch of the selected oscillator. Positive (+) settings will cause a greater pitch change as the value is increased. Negative (–) settings will invert the direction of the pitch change. With a setting of 0, the Pitch EG will not affect the selected oscillator, and the pitch will not change at all. Pitch EG settings are made in “Page 4: Pitch EG”.
Reference • 12. Program mode Pitch rises (+) Attack Level pitch Note-on Note-off Standard pitch Time Start Level pitch Release Level pitch Attack Time Decay Time Release Time Pitch falls (–) S (Start level) [–99…+99] Sets the pitch at which the program begins to sound. Positive (+) settings will raise the pitch above standard pitch, and negative (–) settings will lower the pitch below standard pitch.
Reference • 12. Program mode L (Level velocity sensitivity) [–99…+99] This specifies the depth to which the Pitch EG levels will be affected by note velocity (keyboard dynamics). With a setting of 0, the Pitch EG levels will not be affected by velocity. Pitch EG level sensitivity Pitch EG settings Softly played note Strongly played note T (Time velocity sensitivity) [–99…+99] This specifies how the Pitch EG times will be affected by note velocity.
Reference • 12. Program mode Amplitude Cutoff frequency Color 0 (dark tone) Frequency 99 (bright tone) VDF1/VDF2 When a double oscillator program is selected, this specifies the oscillator whose filter parameters will be edited. You can also switch between oscillators 1 and 2 by pressing the VARIATION buttons [1] or [2]. CO (VDF cutoff frequency) [00…99] This specifies the frequency at which the VDF filter will begin to apply. Lower values will produce a darker and more muted tone.
Reference • 12. Program mode Attack time Attack level Slope time Decay time Release time Break point Release level Sustain level Note-off Overall EG level set by EG Intensity parameter Attack Level Sustain Level Note-on Release Level Break Point Value specified by VDF Cutoff Frequency parameter Time Attack Time Decay Time Slope Time Release Time AT (Attack time) [00…99] This sets the time over which the cutoff frequency will change from the normal VDF setting to the Attack Level (A).
Reference • 12. Program mode ST (Slope time) [00…99] Sets the time over which the VDF cutoff frequency will change from the Break Point (B) to the Sustain Level (S). Set it in the same way as the Attack Start Time parameter. S (Sustain level) [–99…+99] Sets the level at which the VDF cutoff frequency will arrive after the Slope Time (ST) has elapsed. Set it in the same way as the Attack Level parameter.
Reference • 12. Program mode VDF1/VDF2 When a double oscillator program is selected, this selects the oscillator whose filter parameters will be edited. You can also use the VARIATION [1] or [2] buttons to switch between oscillators 1 and 2. KbAmt (Keyboard track amount) [–99…+99] Specifies how greatly keyboard tracking will affect the cutoff frequency. The way in which this will function is determined by the Mode parameter, explained below.
Reference • 12. Program mode This parameter only specifies the amount of the effect that the keyboard tracking function has on EG speed. Whether keyboard tracking will length or shorten the various EG times is determined by the following four parameters. A (Attack time) [–, 0, +] Specifies the direction of the change that keyboard tracking will cause for Attack Time. A setting of “+” will cause keyboard tracking to shorten the attack time.
Reference • 12. Program mode VDF1/VDF2 EG intensity Time amount Color Decay time Release time Slope time Attack time VDF1/VDF2 When a double oscillator program is selected, this specifies the oscillator whose filter parameters will be edited. You can also switch between oscillators 1 and 2 by pressing the VARIATION buttons [1] or [2]. EG (EG intensity) [–99…+99] Specifies the effect that keyboard dynamics will have on the VDF EG.
Reference • 12. Program mode This parameter only specifies the amount of the effect that velocity has on EG speed. Whether velocity will length or shorten the various EG times is determined by the following four parameters. A (Attack time) [–, 0, +] Specifies the direction of the change that velocity will cause for Attack Time. A setting of “+” will cause the attack time to be shortened for strongly played notes. A setting of “–” will cause the attack time to be lengthened for strongly played notes.
Reference • 12. Program mode Attack time VDA1/VDA2 Break point Decay time Attack level Sustain time Release time Slope time The parameters in “Page 10: VDA keyboard tracking” allow you to specify how keyboard position or playing dynamics will automatically modify the EG.
Reference • 12. Program mode B (Break point) [+00…+99] Sets the volume level at which the VDA will arrive after the Decay Time (DT) has elapsed. Set it in the same way as the Attack Level parameter. ST (Slope time) [00…99] Sets the time over which the VDA volume will change from the Break Point Level (B) to the Sustain Level (S). Set it in the same way as the Attack Time parameter. S (Sustain level) [+00…+99] Sets the volume level at which the VDA will arrive after the Slope Time (ST) has elapsed.
Reference • 12. Program mode VDA1/VDA2 When a double oscillator program is selected, this selects the oscillator whose amplifier parameters will be edited. You can also use the Variation [1] or [2] buttons to switch between oscillators 1 and 2. KbAmt (Keyboard track amount) [–99…+99] Specifies how greatly keyboard tracking will affect the volume. The way in which this will function is determined by the Mode parameter, explained below. With a setting of 0, all notes will have the same volume.
Reference • 12. Program mode A (Attack time) [–, 0, +] Specifies the direction of the change that keyboard tracking will cause for Attack Time. A setting of “+” will cause keyboard tracking to shorten the attack time. A setting of “–” will cause keyboard tracking to lengthen the attack time. With a setting of 0, the attack time will not be affected. D (Decay time) [–, 0, +] Specifies the direction of the change that keyboard tracking will cause for Decay Time.
Reference • 12. Program mode VDF1/VDF2 Velocity amount Time amount Decay time Attack time Release time Slope time VDA1/VDA2 When a double oscillator program is selected, this specifies the oscillator whose amplifier parameters will be edited. You can also switch between oscillators 1 and 2 by pressing the VARIATION [1] or [2] buttons. Amount [–99…+99] Specifies the effect that keyboard dynamics will have on the VDA EG.
Reference • 12. Program mode With a setting of 0, the attack time will not be affected by velocity. D (Decay time) [–, 0, +] Specifies the direction of the change that velocity will cause for Decay Time. This setting functions in the same way as the Attack Time parameter. S (Slope time) [–, 0, +] Specifies the direction of the change that velocity will cause for Slope Time. This setting functions in the same way as the Attack Time parameter.
Reference • 12. Program mode Vib.1/Vib.2 (Vibrato 1/Vibrato 2) When a double oscillator program is selected, this specifies the oscillator whose Vibrato parameter will be edited. You can also use the VARIATION buttons [1] and [2] to switch between oscillators 1 and 2. Waveform [TRI…RANDM] Selects the waveform that will be used to modulate the pitch of the oscillator. The following waveforms are available.
Reference • 12. Program mode Higher values will produce a longer fade-in. With a setting of 0, there will be no fade-in, and modulation will begin immediately at the depth specified by the Intensity parameter. Note-on Pitch Modulation intensity Time Delay Fade-in S (Key sync) [ON, OFF] This parameter specifies whether or not the Vibrato will be reset each time you play a note. With a setting of ON, the modulation waveform will be reset each time you play a note.
Reference • 12. Program mode JS (Joystick up) [00…99] This specifies the maximum depth of the modulation that will occur when the joystick is moved away from you. This is similar to the “Page 12: Vibrato” Intensity parameter, but in this case, the specified modulation will not be applied until you move the joystick. Af (Aftertouch) (only the iS40) [00…99] This specifies the maximum depth of the modulation that will occur when aftertouch is applied.
Reference • 12. Program mode Waveform [TRI…RANDM] Selects the waveform that will be used to modulate the pitch of the oscillator. The following waveforms are available. TRI - triangle wave SQUAR - square wave SAWUP - sawtooth wave (upward) RANDM - random SAWDN - sawtooth wave (downward) I (Intensity) [00…99] This sets the depth of automatic VDF modulation. With a setting of 0, modulation will not be applied.
Reference • 12. Program mode With a setting of OFF, the modulation waveform of the first-played note will continue at the standard frequency, and will not be affected by subsequently-played notes. We suggest that you set this OFF when playing chords, so that modulation will apply to each note in unison even if you arpeggiate the chord. Oscillator [OFF, OSC1, OSC2, BOTH] This specifies the oscillator(s) to which VDF modulation will apply. You may modulate the cutoff frequency of OSC1 or OSC2 or both.
Reference • 12. Program mode Page 16: Controllers The settings here determine how the joystick and aftertouch will affect the pitch, filter cutoff frequency, and volume of the program. These parameters will directly control the pitch, cutoff frequency, and volume. Unlike the joystick and aftertouch parameters explained in the Vibrato and VDF MG sections, they do not control the amount or speed of modulation. Joystick L/R Joystick L/R Aftertouch Aftertouch P.
Reference • 12. Program mode Page 17: Effect select The instrument has two incorporated digital effect processors. In this page, you can choose which effects you wish to assign to the program and turn them on or off. For more details, see “Effects” chapter. Page 18: Effect modulation In this page you can connect the effects to controls, which allow you to dynamically modulate their intensity. For more details, see “Effects” chapter.
Reference • 12. Program mode Selected program The following characters can be used. ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789?!.,:;'`"+-=#&@$ ¥%(){}[]<>*/_|^˘¯ Use the CURSOR buttons to move the cursor to the location of the character you wish to modify, and use the TEMPO/VALUE buttons to modify the character. Pressing the INS button will copy the character at the cursor, allowing a character to be inserted at that location.
Reference • 13. Effects 13. Effects iS40/iS50 includes two DSP (Digital Signal Processors), or effect generators. This chapter explains the effect types that can be used in the various modes of the iS40/iS50. The iS40/iS50 provides 47 different types of effect, beginning with those essential for any type of music (reverb, chorus, etc.) and including effects such as exciter and enhancer. In addition, you can use a foot pedal to switch effects on/off while you play.
Reference • 13. Effects “Effect select” pages Mode Page Arrangement Play “Page 7: Effect select” Backing Sequence “Page 11: Effect select” Song Play “Page 4: Effect select” Song Edit “Page 8: Effect select” Program “Page 17: Effect select” In these pages, you can choose which effects you wish to assign to an arrangement, backing sequence, song or program, and turn them on or off.
Reference • 13. Effects Effect 1 modulation Effect 1 intensity Effect 2 modulation Effect 2 intensity Mod (Modulation) [NONE, JS UP, JS DOWN, AFTT, PEDAL, VDA EG] The control that is assigned to the effect. NONE No control assigned. JS UP Joystick moves upwards. JS DOWN Joystick moves downwards. AFTT Aftertouch. PEDAL Damper pedal. VDA EG Amplitude envelope.
Reference • 13. Effects Placement (SERIAL, PARALLEL 1, PARALLEL 2, PARALLEL 3) The Placement determines where the internal audio channels (A, B, C, and D) will be connected to the effects. The usual placement is Parallel 3. Warning: A different placement to Parallel 3 can increase the signal output level, and generate distortion. The SERIAL setting will assign effects 1 and 2 to channels A and B.
Reference • 13. Effects OFF Channel C signal off. D (D Pan) [OFF, R, 99:01…01:99, L] Panning (stereo positioning) of the signal from channel D. This will only appear if SERIAL, PARALLEL 1 or PARALLEL 2 settings are selected. L Left signal. R Right signal. OFF Channel D signal off. 1L/1R (Effect 1 Left/Right level) [0…9] This only appears if PARALLEL 3 setting is selected. 0 Effect 1 (reverb) off. 1-9 Effect 1 level (reverb). The signal will be mixed with channels A and B (not effected).
Reference • 13. Effects Dynamic modulation If an optional Korg XVP-10 or EXP-2 pedal controller is connected to the ASSIGN PDL/SW jack, and you set the Disk/Global mode “Page 8: Assignable pedal/switch” to EFFECT CONTROL, a foot pedal can be used to control the effects in various ways.
Reference • 13. Effects 03: Concert Hall has greater emphasis on the early reflections, and is suitable for full orchestras. 04: Room reproduces the feeling of a standard room. 05: Large Room simulates a larger room with greater density, and is similar to gated reverb. 06: Live Stage has a sound similar to what you might hear in a gymnasium, and re-creates the atmosphere of a rock concert.
Reference • 13. Effects Each of these three early reflection effects includes a two-band shelving equalizer. Dry Left Mix Dry Signal EQ Pre Delay Early Ref Right Dry Signal Mix E.R Time Pre Delay T Early reflection time 100…800 ms Set the time over which the early reflections will disappear. As this time is set to a longer value, the early reflections will become more pronounced. P Pre delay 0…200 ms Set the delay from the direct sound until when the early reflections begin.
Reference • 13. Effects L Equalizer low –12 dB…+12 dB Set the amount of boost or cut that the shelving type equalizer will apply to the region below 1 kHz. H Equalizer high –12 dB…+12 dB Set the amount of boost or cut that the shelving type equalizer will apply to the region above 1 kHz. → Dry:Effect balance DRY, B1…B99, FX Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be turned off.
Reference • 13. Effects Left Mix EQ Delay A Delay B EQ Delay B Delay A Right Mix Multitap Delay 3 Each of these three effects provides a two-band shelving equalizer for the left and right channels. Left Mix Left Mix Delay B EQ Delay B EQ Delay A Delay A Delay A EQ Delay A EQ Delay B Right Mix Delay B Right Mix Multitap Delay 1 Multitap Delay 2 Of the two delays, feedback is applied only to one (delay B).
Reference • 13. Effects 19, 20: Chorus The chorus effects use an LFO (low frequency oscillator) to modulate the delay time, adding depth to the sound. This delay produces a slight variance in pitch, and when it is combined with the original signal, an effect as though multiple instruments were playing in unison is produced. As with reverb, this effect is indispensable for music production using electronic musical instruments.
Reference • 13. Effects For either effect, the left and right channel signals are sent through a two-band shelving equalizer before the chorus effect is applied. Left Left Mix Mix EQ EQ Chorus L Chorus L Mod Mod Chorus R Chorus R Right EQ Right Mix EQ Quad Chorus L Delay time L R Mix XOver Chorus 0…250 ms Set the basic delay length for the left channel. Delay time R 0…250 ms Set the basic delay length for the right channel.
Reference • 13. Effects SP Filter split point 0…18 Specify the frequency at which the filter will divide the input signal into high and low frequency ranges. Higher settings will raise the split point frequency. The chorus effect will apply only to the portion above this frequency. The table below shows the correspondence between this parameter value and the actual frequency. Dry:Effect balance DRY, B1…B99, FX Set the balance between the direct sound (DRY) and the sound processed by the effect (FX).
Reference • 13. Effects This Symphonic Ensemble effect cannot be used simultaneously with any one of the following modulation effects.
Reference • 13. Effects L Equalizer low –12 dB…+12 dB Set the amount of boost or cut that the shelving type equalizer will apply to the region below 1 kHz. H Equalizer high –12 dB…+12 dB Set the amount of boost or cut that the shelving type equalizer will apply to the region above 1 kHz. Dry:Effect balance DRY, B1…B99, FX Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be turned off.
Reference • 13. Effects The signals are sent through a two-band shelving equalizer before the exciter effect and delay effect are applied. Left Mix EQ Right D Enhancer EQ Delay – Delay – Enhancer Mix Harmonic density 1…99 Specify the density of the harmonics that will be added to the signal. As this value is increased, the exciter effect will be deeper. HS Hot spot 1…20 Specify the center frequency that will be emphasized by the exciter portion of the effect.
Reference • 13. Effects R Resonance 0…99 Set the amount of resonance that is applied by the wah filter. Higher settings will produce a deeper wah effect. L Equalizer low –12 dB…+12 dB Set the amount of boost or cut that the shelving type equalizer will apply to the region below 1 kHz. H Equalizer high –12 dB…+12 dB Set the amount of boost or cut that the shelving type equalizer will apply to the region above 1 kHz. DL Distortion level 0…99 Set the output level of the distorted sound.
Reference • 13. Effects rotary speaker effect can be used in a variety of ways, but is generally used by changing the rotary speaker’s rotational speed from slow to fast at points in the music where the musician wishes to build up or add excitement. This creates an effect of movement as if the sound were being shaken. 34: Rotary Speaker mixes the input signals from the left and right channels, and then creates the rotary effect using a completely independent LFO (low frequency oscillator).
Reference • 13. Effects For both effects, the sound passes through a two-band shelving equalizer before the tremolo effect is applied. Left Left Mix EQ Tremolo Auto Pan Mod Mod Tremolo Auto Pan Right Right Mix EQ Mix EQ Auto Pan W Mix EQ Tremolo LFO waveform SIN, TRI Select the waveform that the LFO will use to modulate the input level of the signal. You can select either sine wave (SIN) or triangle wave (TRI). LFO width –99…+99 Adjust the LFO waveform.
Reference • 13. Effects →M Middle frequency 0…99 Set the center frequency of the mid-range filter. Higher settings will raise the middle frequency. ☞Pagina 175 in questo manuale. G Middle gain –12 dB…+12 dB Set the amount of boost or cut that will be applied to the region centered at the frequency specified by the M parameter. W Middle width 0…99 Set the width of the band affected by the mid-range filter. Higher settings will cause the range being cut or boosted by the filter to be narrower.
Reference • 13. Effects 40, 41: Delay & Reverb These are dual effects which connect a mono delay and a mono reverb. 40: Delay/Hall combines a delay and a hall reverb. 41: Delay/Room combines a delay and a room reverb. You can use dynamic modulation to control the DRY:FX balance parameters of both the delay and reverb while you play. Left Mix Feedback Delay Pre Dly Right Rev Mix T Delay time 0…500 ms Set the basic delay length for the delay effect.
Reference • 13. Effects You can use dynamic modulation to control the DRY:FX parameters of both the delay and chorus effects while you play. Left Mix Feedback Delay Mod Chorus Right Mix T Delay time 0…500 ms Set the basic delay length for the delay effect. F Feedback –99%…+99% Set the amount of feedback; i.e., the amount of the delayed sound that will be returned to the input of the delay.
Reference • 13. Effects F Feedback –99%…+99% Set the amount of feedback; i.e., the amount of the delayed sound that will be returned to the input of the delay. As this value is increased, the number of delay repeats will increase, and it will take longer for the echoes to disappear. Negative values will invert the phase of the feedback, causing the tone of the echo to be harder, and less hollow-sounding.
Reference • 13. Effects HS Hot spot 1…99 Set the center frequency at which the wah filter will be applied. As this value is raised, the wah frequency will rise. R Resonance 0…99 Set the amount of resonance that is applied by the wah filter. Higher settings will produce a deeper wah effect. DL Distortion level 1…99 Set the output level of the distorted sound. Higher settings will produce more distortion. With a setting of 1 there will be no distortion effect.
Reference • 13. Effects 47: Delay/Rotary provides a mono rotary speaker that produces a heavier tremolo than the stereo rotary speaker (34: Rotary Speaker) effect. Left Mix Feedback Delay Rotary Speaker Right Mix T Delay time 0…500 ms Set the basic delay length for the delay effect. F Feedback –99%…+99% Set the amount of feedback; i.e., the amount of the delayed sound that will be returned to the input of the delay.
Reference • 14. Appendices 14. Appendices Messages In the various page displays of Arrangement Play mode and Backing Sequence mode display settings and parameters, and also when you modify settings such as volume, mute, and transpose, the iS40/iS50 will sometimes display “popup” screens that appear only for a few seconds. In addition to these, you may occasionally see messages that provide warnings, ask for confirmation, or indicate that processing is taking place.
Reference • 14. Appendices Can’t replace dir. The filename that you specified is already being used by a directory on that disk. Thus, the operation that you are attempting cannot be executed. Specify a different filename, and try the operation again. Can’t replace system. The filename that you specified is already being used by a system file on that disk. Thus, the operation that you are attempting cannot be executed. Specify a different filename, and try the operation again. Completed.
Reference • 14. Appendices File protected. The selected file has an attribute of read-only. Thus, the operation that you are attempting cannot be executed. First make sure that you have selected the correct file. The attribute of a file on disk cannot be changed by the iS40/iS50, but you can use a personal computer to do so if you need to.
Reference • 14. Appendices Okay to erase B.Seq & Song Edit The iS40/iS50 does not have enough memory to playback the SMF format 1 data that you specified. In order to allocate sufficient memory space, is it OK to erase the backing sequence data or the song editing data from internal memory? If internal memory contains data that you do not wish to lose, use the Disk/Global “Save” page backing sequence save operation or the Song Edit mode “Page 13: Save” operation to save that data to disk. SMF format 2.
Reference • 14. Appendices Troubleshooting General problems Problem Action Is the power cable plugged into an appropriate outlet? Power does not turn on Is the power switch turned on? If the power still does not turn on, contact your Korg dealer or a Korg service center. If you are using a sound system, check the connections of your amp and mixer etc. No sound If you are using a sound system, check that the power of your amp and mixer is turned on, and that connections are correct.
Reference • 14. Appendices Floppy disk related problems Problem Action Are you using a 3.5 inch 2DD or 2HD floppy disk? You must use one of these types.
Reference • 14. Appendices List of detected chords Each of the chords pictured below are shown in root position with a root note of C. In order for the iS40/iS50 to correctly recognize major 6th and minor 6th chords, they must be played in root position as pictured. This is because these chords consist of the same notes as the minor 7th and minor 7th flatted 5th of the relative minor key. (For example, the notes C, E, G, and A could be either C6 or Am7.
Reference • 14.
Reference • 14.
Reference • Appendices Styles 8 Beat 16 Beat Ballroom Dance 1 8 beat 1 16 beat 1 Slow Pop Party Polka 8 Beat 2 16 Beat 2 Slow Rock 1 Disco Party 8 Beat 3 16 beat 3 Slow Rock 2 Motown 8 Beat 4 16 Beat 4 Flipper 6/8 Love Disco 8 Beat Analog 16Beat pop Flipper 4/4 Disco ‘70 8 Beat Rock 16BeatAnalog Twist 80's Dance 8 Bt. Shuffle 16 Beat Funk Hully Gully House 8 R&B 16 Beat Rock Surf Rock Techno Dance 2 Latin 1 Latin 2 Latin Dance Progress.
Reference • Appendices User 1 User 1 User 2 User 2 Arrangements You can select the arrangements via MIDI, sending Bank Select MSB, Bank Select LSB (shown in table as BS) and Program Change (shown in table as PC) messages through the ARNG channel. The Bank Select MSB is always = 00. BS PC # BS PC 8 Beat 000 000 A11 8 Beat 001 A12 002 BS PC 16 Beat 000 008 A21 16 Beat Guitar Ballad 009 A22 A13 L.A.
Reference • Appendices BS PC # BS PC Traditional 1 000 064 B11 Waltz 065 B12 066 000 072 B21 Wiener Waltz Mazurka 073 B22 B13 Polka 074 067 B14 German Waltz 068 B15 069 206 # BS Big Band 40's Slow Waltz 1 081 B32 B23 Slow Waltz 2 082 075 B24 Operetta Laendler 076 B25 B16 German Polka 077 070 B17 W.
Reference • Appendices Programs You can select the programs via MIDI, sending Bank Select MSB, Bank Select LSB (shown in table as BS) and Program Change (shown in table as PC) messages, through the MIDI channel you wish to change the program to. The Bank Select MSB is always = 00.
Reference • Appendices BS PC # BS PC Synth SFX 000 096 B51 Ice Rain 097 B52 098 000 104 B61 Sitar Soundtrack 105 B62 B53 Crystal 106 099 B54 Atmosphere 100 B55 101 208 # BS Tinkle Bell Banjo 113 B72 B63 Shamisen 114 107 B64 Koto Brightness 108 B65 B56 Goblin 109 102 B57 Echo Drops 103 B58 Star Theme 000 C11 90’s Piano 001 C12 002 001 Gt.
Reference • Appendices BS PC # BS PC Synth SFX 001 032 D51 Caribean 033 D52 034 001 040 D61 Tambra Rave 041 D62 D53 BellPad 042 035 D54 AmbientPad 036 D55 037 # BS WindChimes Bouzouki 049 D72 D63 Oud 050 043 D64 Kanoon ElastikPad 044 D65 D56 Bell Choir 045 038 D57 Big Panner 039 D58 Odyssey 001 E11 Piano&Strgs 001 E12 002 002 Heart Beat Cowbell 057 D82 Laughing D73 Claves 058 D83 Wind 051 D74 Castanets 059 D84 Gallop Ukulele 052 D
Reference • Appendices BS PC # BS PC User 5 003 032 F51 033 # BS PC User 6 040 F61 F52 041 034 F53 035 BS F71 056 F81 F62 049 F72 057 F82 042 F63 050 F73 058 F83 F54 043 F64 051 F74 059 F84 036 F55 044 F65 052 F75 060 F85 037 F56 045 F66 053 F76 061 F86 038 F57 046 F67 054 F77 062 F87 039 F58 047 F68 055 F78 063 F88 PC # 003 210 # User 8 BS PC 003 # Drum 1 004 PC User 7 048 BS 003 # 000, 002007, 074-127 Dr11 GM Kit 1
Reference • Appendices Multisamples # Multisample # Multisample # Multisample # Multisample # Multisample # Multisample 0 A.Piano 1 88 Mute Gtr 1 87 E.Guitar 3 261 Viola 348 VS 58 435 MuteTriang 1 A.Piano 1w 89 FunkyGtr1 175 House Bass 262 Cello 349 VS 71 436 OpenTriang 2 A.Piano1LP 90 Mute Guitar1 176 House Bass 263 Cello LP 350 VS 72 437 Agogo 3 A.Piano 2 91 FunkyGtr 1 177 Bass Slide 264 CBs.&Cello 351 VS 88 438 Cow Bell 4 A.
Reference • Appendices # Multisample # # Multisample # Multisample # 36 PercOrgan2 124 Santur 210 Shakuhachi 297 BruNoiseNT 384 Syn Rim NT 471 ScratDblNT 37 PercOrg2LP 125 Bouzouki 211 ShakhachiV 298 WhiteNoise 385 Click 472 Scratch a 38 Organ 1 126 BouzoukiLP 212 ShakhachLP 299 WhiteNoiNT 386 Crash Cym 473 Scratches 39 Organ 1 LP 127 Kanoun 213 Bottle 300 Jetstar 387 CrashCymLP 474 Rev.
Reference • Appendices # Multisample # Multisample # Multisample # Multisample # Multisample # Multisample 74 F.Guitar1V 162 SynthBass3 248 Brass 2 335 Sagatty 422 Baya 509 Car Stop 75 F.Guitar 2 163 RezBass 1 249 Brass 2 LP 336 Sagatty NT 423 Tabla 1 510 Car Pass 76 F.Guitar 2 164 RezBass 2 250 Brass Fall 337 Idling 424 Tabla 2 511 Car Crash 77 ResoGuitar 165 RezBass 3 251 StringEns. 338 EthnicBeat 425 Djembe 512 Siren 78 A.
Reference • Appendices Drum kits Key # 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 214 Inst Excl Note Dr11 - GM Kit 1 A0 A#0 B0 C1 C#1 D1 D#1 E1 F1 F#1 G1 G#1 A1 A#1 B1 C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5 D#5 18 58 20 57 40 50 8 1 34 94 12 78 56 55 0 2 78 43 269 40 123 93 123 97 123 94
Reference • Appendices Key 76 77 78 79 80 81 82 83 84 85 86 87 Inst E5 F5 F#5 G5 G#5 A5 A#5 B5 C6 C#6 D6 D#6 Key # 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 253 253 185 186 224 225 190 221 222 258 169 122 WoodBlockM WoodBlockM Mute Cuica Open Cuica MuteTriang OpenTriang Cabasa JingleBell MarcTree 1 Castanet1V Baya 1 Tom 2 Hi V Inst Note Dr15 - Electronic Kit A0 A#0 B0 C1 C#1 D1 D#1 E1 F1 F#1 G1 G#1 A1 A#1 B1 C2 C#2 D2 D
Reference • Appendices Key 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 Inst D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5 D#5 E5 F5 F#5 G5 G#5 A5 A#5 B5 C6 C#6 D6 D#6 Key # 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 216 161 160 160 239 240 227 227 190 196 266 267 264 265 255 253 253 185 186 224 225 190 221 222 258 169 122 Slap Conga Open Conga Open Conga Timbal1HiO Timbal1LoO Agogo 1 Agogo 1 Cabasa SynMaracas Whistle S Whistle L Gui
Reference • Appendices Key 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 Inst C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5 D#5 E5 F5 F#5 G5 G#5 A5 A#5 B5 C6 C#6 D6 D#6 E6 F6 F#6 G6 G#6 A6 A#6 B6 C7 C#7 D7 D#7 E7 F7 F#7 G7 G#7 A7 135 81 135 117 83 114 206 85 235 81 263 116 147 146 161 160 160 239 240 227 227 190 196 266 267 264
Reference • Appendices Key 106 107 Inst A#7 G8 Key # 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 218 OFF OFF Excl OFF OFF Inst Note Dr25 - Arabian Kit A0 A#0 B0 C1 C#1 D1 D#1 E1 F1 F#1 G1 G#1 A1 A#1 B1 C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 404 347 235 235 55 260 299 91 280 280 77 162 404 403 2 10 78 33 268
Reference • Appendices Key 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 Inst C5 C#5 D5 D#5 E5 F5 F#5 G5 G#5 A5 A#5 B5 C6 C#6 D6 D#6 E6 F6 F#6 G6 G#6 A6 A#6 B6 C7 C#7 D7 D#7 E7 F7 F#7 G7 G#7 A7 A#7 G8 212 213 211 215 215 214 206 212 206 213 215 214 203 204 205 221 180 180 182 203 204 205 221 10 361 OFF OFF OFF OFF OFF OFF OFF OFF OFF OFF OFF Rek Dom 2 Rek Tak Rek Dom 1 Rek Rim Rek Rim Rek Slap Tambourine Rek Dom 2 Tambourine Rek Tak R
Reference • Appendices Drum samples # 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 220 Instr # Instr # Instr # Instr # Instr # Instr # Instr # Instr Fat Kick Rock Kick Ambi.Kick Crisp Kick Punch Kick PillowKick -Dry Kick 1 Dry Kick 2 -Real Kick -Gated Kick -ProcesKick Metal Kick Dance Kick -Syn Kick 1 Syn Kick 2 Syn Kick 3 Syn Kick 4 ----------Orch B.
Reference • Appendices Specifications Features Keyboard iS40 iS50 61 notes with velocity and aftertouch AI2 Generation system Tone generator Waveform memory Effects Programs 14MB PCM ROM 320 programs (including GM programs) + 14 drum kits + 64 user programs + 2 user drum kits 128 styles + 16 user styles 128 arrangements + 64 user arrangements 15 -- Midi file player format 0 and 1 (16 tracks), GM compatible Backing sequence Control inputs 10, stored in RAM (40,000 events) Damper Pedal, Assignable
Index Index A C accompaniment starting 4 stopping 4 AG-001 42 AG-002 42 amplitude envelope tracking, see VDA tracking amplitude envelope, see VDA EG Arabic scale 9 arrangement fade in/out 25 fill 24 intro/ending 24 MIDI channels 123–125 name 63 playing with 23 saving in USER locations 64 selecting 4, 25, 56 selecting via MIDI 125 synchro start/stop 23–24 tempo 25 variations 24 arrangement tracks 58 ASSIGNABLE PEDAL/SW 127 attack 142 auto chord scanning 132 chord recognition 55, 67 chord recognition mode
Index H HOST BR 42, 123 I intro/ending 4, 24 program 140–169 song edit 98–110 song play 92–97 mute 5 O joystick 136 JukeBox, see SMF, play all using the JukeBox octave, see transpose, in octaves overdub 100 overwrite 100 K P J keyboard blocking the sounds 26 changing the sounds 26 full, not divided 6, 27 layer 6 manual drum 6 split 6 Keyboard Set 27 load from disk 119 save to disk 120 selecting via MIDI 125 write to memory 64 Korg MIDI Driver 44–50 L local control off 40, 122 local off, see local
Index sound, see program Standard MIDI File, see SMF step recording, see backing sequence, step-by-step recording style selecting 57 synchro start/stop 23–24 system exclusive 127 arrangements 64 programs 169 scales 134 styles 57 V tempo 4, 25, 55 tempo lock 56, 57 tracks of the backing sequence 70 of the song 95 selecting 5, 56 transpose general (master tuning) 121 in octaves 6 in semitones 6, 27 in Song Play mode 96 variation 4, 24 VDA EG 155 VDA tracking 157 VDF 148 VDF cutoff 142 VDF EG 142, 149 VDF
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